Spicy Uno

Nationality: American
Age: 23
Occupation: American
Residence: Los Angeles
Performance Date: 4/15/21
Primary Language: English

BACKGROUND: JM is the interviewer’s friend. Spicy Uno is a variation on the popular Uno card game, one that we’ve played many times as friends, and a game that can get quite heated at times.


TRANSCRIPT:
JM: “Here are our rules:
Play a 4, no talking. Whoever talks has to draw 1 card for each word they say.Play a 6, all hands need to go in the middle of the table. Last hand draws 3.Person who plays 0 chooses 2 people to swap hands (can include themselves).+2 cards and +4 cards can stack, but not on each other.You can ask for help and can help someone, but you can’t show them the card before.You can skip to yourself by playing an exact match of what’s on top of the pile.If you have UNO and someone else calls UNO for you, draw 6.
There’s the famous moment when we were playing, someone drew 4, and then someone knocked on the door. You went ‘it’s all good, we’re taking a break, we don’t need to be quiet anymore. The game is paused, the game is paused.’ Watching you draw 22 cards was maybe the greatest time I’ve ever played the game.”


ANALYSIS: The Spicy Uno variation of the Uno card game is a popular one among Millenials and Gen Z, one that qualifies as folklore since there are no exact rules and no known origin — everyone plays it slightly differently. It’s a modern folk tradition, one that can forge friendships and break them apart in the same round. For another version of Spicy Uno, see:

“How to Play Spicy Uno.” Crazy Little Projects, 30 Jul. 2020, https://crazylittleprojects.com/how-to-play-spicy-uno/.

The Christmas Pickle

Nationality: American
Age: 22
Occupation: Student
Residence: Los Angeles
Performance Date: 4/18/21
Primary Language: English

BACKGOUND: NH is a friend of the interviewer.
CONTEXT: NH describes his family’s “Christmas Pickle” tradition.
TRANSCRIPT:
Informant: “Every Christmas Eve, my grandma would hide a green pickle ornament somewhere in our Christmas tree. My three cousins and I would compete to find it first. She usually hid it deep in the tree somewhere. Whoever found it first got $10 or so.
While it does have German-American roots, and my family is of Luxembourg origin – so it kind of tracks – I also think we might do it because our last name is Heinz, like the infamous pickle-makers. You know, 57 Varieties of Pickles?”
Interviewer: “Yeah, of course. Any known relation to the company?”
Informant: “No, unfortunately.”
ANALYSIS: The Christmas Pickle is a known, semi-practiced Christmastime folk tradition originating, as NH described, in German-American households. The use of a pickle ornament could be a reference to pickles’ prominence in Germany, Poland, and Eastern Europe cuisine. The cash prize associated with the tradition goes along with the idea of Christmas as a time for gift-giving, even though there is slightly more work involved to get the cash than with a usual Christmas gift. For another version of the Christmas Pickle tradition, one that delves into the tradition’s history, see:

Churchill, Alexandra. “The Untold Story of the Christmas Pickle Ornament.” Martha Stewart, 10 Dec. 2019, https://www.marthastewart.com/1097532/decorative-past-tradition-christmas-pickle-ornament.

Maui Harnessing the Sun

Nationality: Cuban American
Age: 22
Occupation: Student (Fashion)
Residence: London, United Kingdom
Performance Date: April 30th, 2021
Primary Language: English
Language: Spanish

Informant Context:

James has lived in many locations internationally, including Cosa Rica, Mexico, and Nepal. His family is located in Hawaii, where he will often visit during his breaks from school. He is a student in London, United Kingdom, studying fashion. 

Transcript:

JAMES: Obviously I am not native Hawaiian, but having spent some time there—especially now that my family lives there—um, there’s obviously a pretty rich cultural… culture of storytelling, and obviously they had their own kind of mythology and stuff. And one that always stuck with me was that on oddly enough, in the hotel that we used to say at often when we would go to Maui, there was a huge massive like—oh gosh, it must have been, it was probably like 30 feet tall, 20 feet tall and like 40 feet wide—is a massive wood carving of Maui harnessing the sun. Which comes from… obviously, Hawaiian legend and myth—of how in the early days of creation, the sun raced—was obviously a personified person, and they would drive rapidly around the earth, basically, racing around the earth and… days were so short,  that people couldn’t do anything, they couldn’t get anything done. And so, they—the people, you know, cried out to Maui their demigod savior, and said, “Can you do something—[laughs]

INTERVIEWER: [joins] 

JAMES: —about this?”, as people tend to do of their deities and stories, and even in modern days, but that’s a lit—that’s a different issue [laughs]. Um… and yeah, so as far as I’ve been told the story, it’s—Maui climbed up to Haleakalā, which is the, uh… largest—larger of the two volcanoes on Maui, and cast out his fishing net—which is one of those ones that you like… yo—I don’t know like, the term for it, but you like, swing it out, and it like, spreads out. And he managed to catch the sun, and brought him down to earth, and was basically like “Hey!”… basically threatened him, which I feel like you shouldn’t do to like, the *sun*, but… he… basically threatened him—

INTERVIEWER: [laughs] You’re nice to the sun?

JAMES: [voice broken by laughter] You know? Like, you kind of… be polite, [or(?)], diplomatic, but—

INTERVIEWER: [laughs]

JAMES: Anyways, I guess you can do whatever you want if you’re a demigod. And uh, yeah. But he harnessed the sun, brought him down, and basically [showed him(?)] like, “Hey! You—we need like, more… we need longer periods of light. Because otherwise, the food isn’t gonna grow, and if… we can’t just keep working at night, because you know, electricity isn’t a thing. And so, please go slower.” And then he released him, and that is where they believe the day comes from. The… uh, as far as… in its longevity, um… and its consistency, I suppose, being where they are at—near the equator. Um… but yeah! That one always stuck with me, mostly because we would just see this massive woodcarving over, um… in the foyer of this restaurant. [unintelligible] is always… like, like right in the middle of the hotel. Um… but I always… I always loved the Hawaiian myths, I suppose. I think they’re very…  mythology in general, I mean, is just fascinating…

Informant Commentary:

James has a general interest in religious folklore, especially the folklore of those places he has personally visited. He expressed a positive view of folklore in Hawaii, citing institutional efforts of preservation and respect, such as laws surrounding burial grounds and other sacred land, as well as the consistent invocation of traditional Hawaiian symbolism around government buildings and tourist areas (e.g., the statue mentioned in the transcript). When countered on this idea, James acknowledged that many of these efforts are, in his words, “performative”. 

Analysis:

This story is best categorized as a myth, as it is a creation story and an explanation of a natural phenomenon: the length of the days. Based solely on the narrative of the story, the myth of Maui harnessing the sun seems to reference a fundamental trust in deities to intervene on behalf of man, even capturing one of the (if not the single most) powerful natural force.

South African Slang and Sayings (Voetsek, Sweet Like a Lemon, Yoh, Aiyoh, Shame)

Nationality: South African Indian American
Age: 20
Occupation: Student
Residence: Bay Area, California
Performance Date: April 27th, 2021
Primary Language: English

Informant Context:

Otis’ parents immigrated separately to America from South Africa in the 1980’s, during apartheid. Otis’ extended family now lives in the Bay Area, California and near Johannesburg, South Africa. Otis often visits his family in South Africa.

Transcript:

OTIS: I can think of like, some slang that my family uses a lot. Um…

INTERVIEWER: Oh, yeah.

OTIS: A lot of it is like… [laughs] a lot of it will be like, toned-down South African swear words. 

INTERVIEWER: [joins]

OTIS: I don’t really know how most of them are spelled, but you could probably find… I don’t really know, but uh, one I thought of is… is “Voetsek!” [both laugh]. And that… it—it means “get away” in Afrikaans. And it… like, it’s mainly like, a thing that you say to dogs, ’cause there’s a lot of stray dogs in like, the kind of poorer areas where my family grew up. So they would be like, if a dog is coming near them, and if the dog looks dangerous, they’d like—yell “Voetsek!” And all the dogs *know* it by now, so the dogs—

INTERVIEWER: Oh, Wow! [laughs]

OTIS: —Scatter. 

INTERVIEWER: They all—they all scatter?

OTIS: But… so when you say it to a person, [laughs] it’s kind of rude. You’re like, calling him like, a dog.

INTERVIEWER: Oh, OK. Yeah.

OTIS: Yeah. And… like, my family will like, jokingly say it to each other. When like, one of my aunts is teasing one of the other aunts, they’ll be like, “Eh, voetsek” 

INTERVIEWER: [laughs]

INTERVIEWER: Like, joking. Um… [both laugh] There’s this thing my dad like, taught me to say whenever I was visiting family in South Africa. But I’ve never heard anyone else say it, but my dad’s like, “Oh yeah, me and all my friends always say this”. It—It just means “cool”, but it’s “sweet like a lemon”.

INTERVIEWER: [laughs] Oh! 

OTIS: So…

INTERVIEWER: [voice broken by laughter] I haven’t heard that… either. Lemon’s aren’t really sweet!

OTIS: It makes zero sense! But, uh… my dad might be just like, messing with me.

INTERVIEWER: Yeah [both laugh]Do people respond when you… ’cause he—he told you to say this in front of other family. Did they understand it? 

OTIS: They’ll just be like, “Oh yeah OK” [laughs].

INTERVIEWER: Oh. [joins]

[…]

OTIS: And then like, there’s a lot of like, exclma—exclamations um [laughs]… there’s like, “yoh”! Which means [laughs]—and I-I don’t know how you gonna spell all this stuff so… 

INTERVIEWER: I try to spell it out phonetically, but [laughs].

OTIS: Y-y-yeah. It’s like “yoh”!—which means, uh… like “Whoa”! And then there’s “Aiyoh!” which is like, “that’s crazy!” And I’ll hear my dad say that stuff a lot when he’s watching his soccer games [both laugh]. And… um… Oh! OK, a lot of South Africans will say [elongated] “Shame!” But it like…! It means—it kind of means the same thing as like “it’s a shame,” like how Americans will say. But it’s kind of different. Like, they’ll mean it in like, a… they’ll say it when like, a kid does something cute. Or like, someone’s being naïve, almost? 

INTERVIEWER: Oh.

OTIS: Like, if they say like—if they say like, “Oh this… kid like my, my son like didn’t make the soccer team. He was too short.” 

INTERVIEWER: [laughs]

OTIS: Or something. I guess that’s like “it’s a shame”. 

INTERVIEWER: Yeah.

OTIS: But like, if they say something like, “Oh! The… the little kid made like, a… made like a fort, and told everyone that’s his new house.” They’d all be like “Uh! A shame, man!” They’s say that. [both laugh] 

INTERVIEWER: Oh interesting. So it’s around kids or something cute.

OTIS: Mhm.

INTERVIEWER: But also kind of something unfortunate. 

OTIS: Yeah.

INTERVIEWER: So like… so like if I told somebody that I backed into a car in the parking lot, would they say “Shame” to that? Probably not? 

OTIS: No!

INTERVIEWER: Yeah [laughs]. Whereas— 

OTIS: If you said something like… like, “Oh, I need to go get gas right now”. They’d probably said like “Oh, shame”.  

INTERVIEWER: Oh, OK. 

Informant Commentary:

The informant recalls two levels of folk sayings: one that appears cultural (or at least, regional to Pretoria), and one that appears familial. On a large scale, interjections with origins in Afrikaans or  Asian languages (in the case of “aiyoh”) are easily recognizable among those in the South African Indian culture. They might even be understandable to those outside this culture, given the right context. To use Otis’ example, the meaning term “aiyoh” might be decipherable by someone watching the same soccer game as Otis’ father. The term “shame” might be decipherable to someone watching a child build a fort in front of the family. Other sayings, such as “sweet like a lemon” are idiosyncratic to Otis’ family, in his experience.

Analysis:

A small detail Otis mentioned about the dogs in South Africa give the term “voetsek” a deeper significance. Otis stated that “all the dogs know it by now,” implying that over time, the dog population came to gather the same meaning from the word “voetsek” as humans. In this way, the dogs seems to be part of the in-group who understand this term. If the term was said to a group of dogs from the region and a group of humans from outside the region, in “scatter[ing]”, the dogs would demonstrate a better understanding of this folk term than the humans would. This is a post-humanist analysis of this one, particular saying: folklore shared among non-humans. As for the collection of sayings as a whole—there is a significant amount of evidence online to suggest that these are widely used terms, not only among South African Indians, but South Africans of other ethnicities as well. “Aiyoh” appears more idiosyncratic to Asian (particularly Indian and Chinese) cultures, and “sweet like a lemon” might have a wider usage than Otis suggests, but is obscure compared to the rest. 

Dark Humor in the ICU (“Celestial Transfer”)

Nationality: American
Age: 24
Occupation: Nurse, Critical Care
Residence: Atlanta, Georgia
Performance Date: April 30th, 2021
Primary Language: English

Informant Context:

Stella is a traveling ICU (intensive care unit) nurse who currently work in Atlanta, Georgia.

Transcript:

STELLA: I feel like people in the ICU especially have like, really dark humor. Um… like, dark kind of like—twisted humor? And I think like, you kind of like, have to be that way. Like, it’s like, it’s kind of the saying of like, “If you’re not laughing you’re crying?” Like, the things that we see are so tragic that like, we kind of just have to like, make light of them? And it’s not ’cause like, we’re like, making fun of people is just like… “Wow, the situation is like, so bad… like, this is just ridiculous that I’m watching this” kind of thing. Um…

INTERVIEWER: Can you give an example of… maybe a joke that you’ve heard or something people frequently make fun of in the ICU?

STELLA: Um… like, I don’t… like [laughs]… if a… like, it’s like—this is like, so bad. I don’t—like, I kinda don’t, like, feel super comfortable like, saying… like, like—so I’ve heard people say like, um… you know, like—oh, like, so-and-so made like, a “celestial transfer”. And so, it’s kind of like—kind of like a jokey way of saying like… if the patient died… and it’s like, instead of transferring them to the floor or like, discharging them from the hospital they were like, transferred to the sky. You know what I mean?

INTERVIEWER: Right, right. 

STELLA: Like, to heaven. And so it’s like, “Oh… like, you know, so-and-so… you know, had a ‘celestial transfer’”, and everyone’s like, “Oh, yeah”. Um… but yeah… I mean, I don’t know. I feel like it’s… it’s not something that anyone outside of that profession would understand nor think is funny [laughs]. 

Informant Commentary

Stella displayed some apprehension, even guilt, when sharing this particular joke. She feared that those outside her folk group would characterize the humor of medical professionals in the ICU as “heartless”, in her words. For her, the meaning of the humor lies in replacing pain with levity. She went on to describe this folk practice as an absolute necessity to cope with the constant displays of suffering which surround this folk group.

Analysis:

Certain experiences and responsibilities breed jokes which are not considered humorous or even relevant to people without the same experiences and responsibilities. In the case of this specific joke, the experiences and responsibilities shared by those within the folk group are ones closely associated with death, particularly death within a hospital setting. This is why the joke directly references hospital terminology (“transfer”). In addition, references to the word “celestial”, or the movement of a patient from the “terrestrial” to the “celestial” suggests that even within this example of so-called dark humor, there is an implicit hope of peace for their shared patient.